This entry is part of the Lexicon of Klezmer Terminology (LKT). The LKT compiles a wide array of source materials that shed light on the historical and contemporary state of knowledge about klezmer music. Each entry includes a number of citations from primary and secondary sources that include or refer to the term in question. It also indicates whether musical notation or sound recordings are included in the source. By clicking on the bibliographic hyperlink at the end of each citation, you get the full reference.
“Afterwards they went out with coaches to greet the groom. He was led into the house with a big parade and klezmer.” [Staro-Konstantin, Ukraine, 1820s-30s]. Fridkin 1925, p. 42.
“[When the bride was dressed,] Hersh the Klezmer came then with his whole band... The dances were cut short when a messenger came to announce that the groom was being led to badeken the bride. Klezmer then set out for next door to greet the groom, playing there a special groom’s melody [khasn-motiv].” [Kremenits, Poland, pre-World War II]. Gilernt 1954, p. 386.
“The entrance to the shtetl with the groom took place to the sound of music and song... Soon thereafter the badkhn introduced himself with the klezmorim, who played the first march.” [Frampol, Lublin, Poland, pre-World War II]. Kleydman, 1966, p. 163.
“The klezmorim began to play a kaboles-ponem, only the guests were not interested and interrupted them.” [Hassidic wedding in Poland]. Trunk 1946, II, p. 198.
“Afterwards [meaning after the klezmer’s arrival in town,] the people drove out on a ride with all the young men to mekabel-ponem [welcome] the groom into town.” [Sarnaki, Poland, pre-World War II]. Zeyerman 1968, pp. 348-49.